Artist Ranjan Kaul is presenting his sixth solo exhibition, featuring a compelling collection of paintings, woodcut prints, collages, and sculptures that delve deep into the harsh realities of contemporary society. The exhibition, titled "Within, Without: Tales of Evanescence," explores profound themes of identity erasure and human disappearance through scenes depicting child abduction, sexual assault, and exploitation.
Drawing inspiration from newspaper classified ads of missing persons and real-world stories of disappearances, Kaul's latest body of work demonstrates his intense engagement with humanitarian concerns. His art addresses a wide range of victims, including those affected by sex and organ trafficking, displaced migrants, children lost in conflict zones, and individuals who have experienced both voluntary and forced disappearances.
Kaul employs multiple artistic devices and visual languages to convey his powerful messages, incorporating poetry, metaphor, and symbolic representations of animals and birds that serve as silent witnesses to layered stories of survival, disappearance, and imagined recovery. "As in all my work, this exhibition reflects my intense engagement with humanitarian themes that touch my sensibilities," Kaul explained. "Revolving primarily around missing persons, the visual narratives and portraits in the show explore the many facets of existence, identity and obscurity. While there is diversity in my art, there is an underlying singular, personalized aesthetic in relation to the use of form, texture and the colour palette."
Among the standout pieces in the exhibition is "Leaving Home," which portrays a mother and daughter fleeing domestic violence, capturing the desperation and courage required to escape dangerous situations. "The Red Room" presents an arresting collage that traces a young girl's traumatic journey from abduction to sexual exploitation, using powerful visual elements to convey the horror of human trafficking.
Another significant work, "A New Identity," features a collage depicting a tormented sex worker escaping from a brothel and seeking renewal in the face of complete identity erasure. This piece particularly highlights Kaul's ability to portray both the devastation of exploitation and the resilient human spirit's desire for redemption and transformation.
For several years, Kaul has made missing people the central subject of his artistic practice, meticulously pouring over newspaper reports and data gleaned from news agencies to inform his work. According to curatorial advisor Ina Puri, this research has given Kaul even more reason to express his deep empathy and helplessness regarding the plight of victims who have faced the harshest trials and tribulations through no fault of their own.
Puri noted that by layering his compositions with symbolism, metaphor, and allegory, Kaul pays homage to the many individuals who have gone missing but remain unforgotten by those they left behind, especially by the artist himself. This approach creates a powerful visual language that speaks to both personal tragedy and broader social issues.
Several other works in the exhibition venture into broader socio-political territories, examining conflicts both within India and internationally where violence renders identities ephemeral and lives disposable. "Cataclysm in Sudan" presents stories of survival and desperation against the backdrop of the ongoing civil war between the poverty-stricken country's two military factions, where women are compelled to offer their bodies for survival.
The exhibition originally concluded its run on September 23 at Bikaner House but has found new life at Urban Fringe in Okhla, where it will be showcased from September 27 to October 5. This extended run allows more viewers to experience Kaul's powerful commentary on some of society's most pressing and often overlooked humanitarian crises, ensuring that the voices of the missing and exploited continue to resonate through his art.
